Experimental compositions



it is a sort of duet between two synthesizers, programmed to produce two sounds in stark contrast: the first more percussive and the second more similar to a wind instrument.

Given the dreamy atmosphere of the piece, similar to that of the nineteenth-century nocturne but free from the melancholic tones typical of this short form, I decided to give it the title diurno by contrast.


it is a piece born as a study on the sound of pots, which in Sicilian are called tiana. In fact, to create it, the sound produced by hitting three pots in various ways was recorded and then reworked.

The piece has a rhythmic and modal character with intense and contrasting tones. Inside there is an inversion of the traditional way of understanding the relationship between notes and noises: sounds at a specific pitch are used to create an accompaniment to noise melodies.


is a composition created using 11 very short fragments of contemporary compositions, both electroacoustic and instrumental.

These sounds have been reworked and mixed together to obtain 6 original sounds.

By linking together the obtained fragments I created a noisy sound carpet that gradually proceeds first from the thinnest sound to the fullest one and then vice versa from the most intense to the weakest.

On this sound carpet I recorded an improvised MIDI track, using five patches of the Discovery virtual synthesizer previously prepared by me, switching from one to the other in real time by acting on the program change commands of my keyboard.

Canarino in fuga



it is a concrete music composition made up of a monophonic prelude followed by a four-voice fugue in which the notes and traditional musical instruments have been replaced by the song of a canary.

The original audio material was obtained from the recording of approximately three hours of environmental footage of a canary placed in a cage. From this material I made a selection of the most musical and suitable singing fragments for the creation of the piece. With a simple concatenation of these fragments, without the aid of particular effects or processing, I created a prelude lasting about a minute, which introduces the listener to the sounds of the piece.

The fugue, however, was created by cutting and pasting the selected fragments, modifying them through slight variations in pitch and duration, in such a way as to create melodies which, when superimposed, simultaneously formed harmonies, all trying to respect, within the limits of the possible, the structure of an escape.


is a composition for soprano sax and live electronics.

It is divided into five sections in which forced parts are mixed with improvised ones, traditional notes and noises.

The sounds produced by the sax are reworked live through filters and effects. In this recording the soprano sax is played by Raffaele Barranca.

Click here to download the score in pdf: Saxotronic.pdf The numbers indicate the different effect configurations preloaded on Cubase and changed live via Ctrl+#. Anyone interested in performing the song live can request the source files from me via email.

Go to the FUSION songs page


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